#fracturedidentity

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SOMEWHERE OVER THE RAINBOW. #brianszente #slowghost #dcartist #dmvart #truth #somewhereovertherainbow #disassociation #otherworlds #deltabeta #betasexkittenprogramming #fracturedidentity #mpd #theeye #wehavetofight #massmanipulation #televisionthedrugofthenation #deltaprogramming #thewrongmove #alleyesareonyou #peopleareindenial #2019art #thinkforyourself #dontgroupthink #socialgroup #evil #yinyang #luciferianism #horrorshow #contemporaryarts #contemporarydc #theconspiracyisreal #identikit #fantasy #contemporarydrawing #illuminatis #humbleyourself #knowledgeispower #wecanfightback (at Washington, District of Columbia) https://www.instagram.com/p/Bsz8flwFjIL/?utm_source=ig_tumblr_share&igshid=1otfggolp04i2

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Fractured Identity

Fractured identity is a post-modern, decentred identity, whereby society has influenced or caused this rupture of the subject (Barker 2012, p.225). Barker (2012, p.225), claims 5 post-modern influences at work; 1. Marxism, 2. Psychoanalysis, 3. Feminism, 4. The centrality of language and 5. The work of Foucault, causing this fragmentation within. ‘Exhortation in Red Ring’, depicts an image of a post-modern artist’s view of the fractured subject. This image can be evaluated on many levels, however the focal point of this image is the decentred identity within the subject. The external forces being the red burning sun, appear to be influencing a change in the identity of the subject.

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Fractured Identity by Dayle Beazley

People are not made up of one single identity, but are made up of several different identities, depending on the situation, environment or people around us.

From birth to death we develop new understandings and meet new people which change the way we think, hence opening our minds to several identities, any one of which we could assume at any time, henceforth leaving us with a fractured identity.

Throughout my blog, the posts I’ve shared differ in genre/type, each being one of that I like but each also differing in relation to the personalities/identities I assume around different people.

Reference list

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fractured identity

Fractured Identity is Stuart Halls notion of recognizing that identity isn’t a single coherent, yet individuals acquire multiple identities throughout there life. Explored through the impression that ‘the fully unified, completed, secure and coherent identity is a fantasy’ (Hall 1996, p. 598). As an individual progresses through the human experience they discover more and therefore take on another identity. A character within ‘All The Bright Places’ by Jennifer Niven, Theodore Finch continuously shifts his entire identity to attempt to fulfill what he feels is his ‘core-self’. Throughout multiplex transformation, he notices his core self is mentally ill and shapes himself into someone he perceives others will see and believe as his true self.

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- Artist Frida Kahlo’s ‘The Two Freidas’

Fractured Identity

Contrary to the ideas of subjectivity and essentialism, fractured identity is the theory that individuals have not one, but several fragmented and contradictory identities (Hall 1996, p.598) due to the various roles they are expected to fulfil. I personally believe in this theory, as I find in my creative practice and in life, I regularly alter my identity according to my environment. This is especially true for theatre, as I am adapting to suit various roles.

Frida Kahlo’s The Two Fridas aids in visualising this ‘fractured identity’. It features Frida's two different personalities. “One is the traditional Frida in Tehuana costume, with a broken heart, sitting next to an independent, modern dressed Frida.”-Frida Kahlo.org

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Fractured Identity

According to Barker (2007), this refers to the post-modern subject or ‘decentred’ nature of artists’ identities. As with all people,  our personalities can be divided and separated due to our context; our situation that we currently are in. An example would be if I went to the shops and bought something, my dominant personality at the time would be the kind and gracious person who has the absolute respect for everyone but if I came home to my family, my relationship with them is different. I have respect for my family but I’ll jokingly fight with them and our relationship is different than with strangers. This is enforced by the image above of the woman and the five perspectives of her, all showing something different but are still within the same body; fractured identities creating a complexity in humans.

[its-rainnieday]

A simple sketch of my late dog Yogi. I hate to share my drawings, from a fear of being judged. I strive for modesty to be an integral aspect of my social identity.

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Musings upon the Conscious and Identity

Chapter 1: Subjectivity 

Subjectivity is one of the utmost aspects of any creator and is defined in Mansfield’s paper “Subjectivity: Theories of the self from Freud to Haraway” as “cultural theory in practice” (Mansfield, 2000, p.6). This,and Mansfield’s paper in general, argue that one’s ideas and perspectives are warped by “being a particular someone at a particular time and place” (Mansfield, 2000, p.6). The above thesis regarding subjectivity is perhaps the most outright argument for one’s experiences defining their unique perspective upon a given subject or subjects with individual perspectives informed by experience. One could argue this relates to a performer’s experiences 

Chapter 2: Social Identity

The basic concept of one’s Social Identity is that individuals “have a personal identity as well as a range of social identities. A social identity is an aspect of the self that is derived from memberships of social groups, and this includes (internalized) values and norms” (Psychnet.com). Social Identity’s arguably core tenant is that “that group members of an in-group will seek to find negative aspects of an out-group, thus enhancing their self-image.” (Simply Psychology.com).  An excellent example of a text with the motif of social identity is that of “Heathers: The Musical” by the duo of Kevin Murphy and Laurence O’Keefe. The musical follows the character of Veronica Sawyer, a young woman with ambitions of climbing the social ladder at her school by becoming a member of the immensely popular clique known as “the Heathers”. Veronica’s motivation for this is to avoid the abuse that comes to the “unpopular girl” and make it through her final year of schooling peacefully. This is changed utterly when by chance she encounters the three girls who comprise the Heathers and gains membership into the clique. The play then follows Heather as her sense of identity is steadily warped, being forced to dress in ways she would never under normal circumstances, interact with only those the Heathers approve of and in general behave in what ever way is deemed befitting of a Heather until there is little resembling the original Veronica in personality or appearance.

Chapter 3: Fractured Identity

Fractured Identity is a relatively interesting concept in regards to what constitutes an identity, this being when one’s identity has many shifts and alterations made to it over a period of time. The above piece, aptly named “Fractured Identity” by online artist Kevivisual exhibits an almost grotesque portrayal of an irrevocable shift of the self in progress. The body’s morphing to the face and lips is an incredibly eye catching means of portraying this to the audience.

Chapter 4: Creative Identity

An artist’s creative identity is, simply put, their identity as an artist and person which in turn is projected to the viewer in their body of work. As a young man hoping to master the disciplines of performance and acting I think it is utterly important for one to have their own sense of identity creatively in order to avoid becoming “white noise” in a sense or living in the shadows of your inspirations.

Chapter 5: Creative Influence

Creative Influences are somewhat related to Chapter 1′s notes on Subjectivity but in a much broader sense then the aforementioned subjectivity as it is often used to refer to a much broader effect one’s own culture and previous viewings of art and media has upon the individual. This idea’s extremity is taken by Mark Twain who claimed  “There is no such thing as a new idea. It is impossible. We simply take a lot of old ideas and put them into a sort of mental kaleidoscope.” (Twain, An Autobiography, p.unknown)

With this idea in mind one can argue that the work one creates is inherently a reinterpreted form of a previous body of work and that ideas are more a kaleidoscope that is constantly “shaken up” for lack of a better term.

Chapter 6: Unconscious

The unconscious is a psychological concept related to one’s own psyche harboring thoughts and memories that are repressed and left undone by the individual in question (A Dictionary of Critical Theory, 2018) . However it has been documented that these unconscious parts of the mind can be released through one’s jokes, dreams and slips of the tongue, often referred to as “Freudian Slips”, serving to bring a sense of balance between the mind’s conscious and unconscious elements.

Chapter 7: Over-determination

Over-determination is when one or multiple dream thoughts are either amalgamated an represented within one artwork or, alternatively, it refers to the process of an ideal being imposed upon another artwork (A Dictionary of Critical Theory, 2018). While held in a negative sense creatively it is an all important aspect of self reflection to be able to dissect exactly which dream thoughts are dominant within one’s art and whether it is efficiently represented.

Chapter 8: Sensory Knowledge

Sensory Knowledge is the comprehension of how our bodies and assorted senses interact with society and the world around us as a whole, linking it directly to a day to day factor of the human existence. Oppenheim's piece “Object” is an excellent example of a piece that stimulates a greater inter-connectivity of the senses, with sight of the image bringing forth imagined sensations of taste and texture). This, in turn, creates a greater sense of interactivity with the given audience.

Chapter 9: Authenticity

Authenticity can be pretty efficiently summarized as one who is self aware of their own beliefs, identity and personal philosophy. This ideology contradicts that of the subconscious mind as the core tenant of that hypothesis is that there are elements that are utterly unknown to the individual (A Dictionary of Critical Thinking, 2018). Authenticity is a fundamentally important

Chapter 10: Essentialism

Essentialism is the philosophical concept that humans on the individual and societal levels are defined by a series of commonly held traits which serve to differentiate each person from another. The Renaissance artist Michelangelo’s “Creation of Adam” piece portrays the creation of mankind by God. This relates to Essentialism due to it being a core tenant of the Judeo - Christian belief system that humans were created with defining traits by a higher power, thus setting them apart from the creatures of air, land and sea.

Source List:

https://www.sciencedirect.com/science/article/pii/S002210310600043

https://www.simplypsychology.org/social-identity-theory.html

A Dictionary of Critical Thinking (2018)

https://psycnet.apa.org/record/1987-98657-000

https://www.philosophytalk.org/blog/fractured-identities

Mark Twain’s Own Biography (1907)

Goodreads.com

 Heathers: The Musical by Murry and O’Keefe (2010)

https://kevisual.net/work#/fracturedidentity

Michelangelo’s Creation of Adam (1508)

Object by Meret Oppenheim (1936)

https://www.youtube.com/watch?v=cQIZHYnBgdc (Thumbnail is Overdetermination image)

Fractured Identity and Agency and the Plays of Adrienne Kennedy

https://artsonthegreen.ticketfly.com/event/1696222-heathers-musical-gaithersburg/

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(emimusic 2009)[24] David Bowie had an alter ego known as Ziggy Startdust, who he portrayed through his music, and also through a motion picture. Ziggy Stardust became an iconic part of Bowie’s creative identity. Bowie explored multiple identities throughout his career through aspects such as his music and his fashion.

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FRACTURED IDENTITY

To some degree, we all have fractured identities. The various roles that we are expected to fulfil enable us to pigeon hole parts of ourselves into overlapping identities. The French Philosopher Michael Foucault rejected the view of a person having an inner and ‘fixed’ identity. He identified the self as a continuing discourse in a shifting communication of oneself to others.

Identity provides us with a sense of belonging. Our families, our cultural backgrounds, where we live and the type of work we do all contribute to our sense of identity.

Fractured identity relates to "The subject previously experienced as having a unified and stable identity, is becoming fragmented; composed, not of a single, but of several, sometimes contradictory or unresolved, identities" (Hall 1996, p.598)

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FRACTURED IDENTITIES

Article by Mandy X

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Reference List

Artstor, ‘Portraits of artistic self: Parsing creative influence through prompted Artstor searches’, The Artstor Blog, 21 Jun 2016 HTTPS://artstor.wordpress.com, accessed 25 March 2017.

Castree N, Kitchin R, Rogers A 2016, ‘Overdetermination’, A Dictionary of human geography, Oxford University Press.

Chandler D, Munday R, 2016, ‘Essentialism’, A dictionary of media and communication (2.ed), Oxford University Press.

Chandler D, Munday R, 2011, ‘Sensory Data (Data Sense)’, A Dictionary of Media and Communication (1.ed), Oxford University Press.

Chandler D, Munday R, 2016, ‘Authenticity’, A dictionary of media and communication (2.ed), Oxford University Press.

Colman, A M 2016, ‘Unconscious’, A Dictionary of Psychology, Oxford University Press.

Harcup T 2014, ‘Subjectivity’, A Dictionary of journalism, Oxford University Press.

Jeffrey S, ‘Your Creative Identity’, Scott Jeffrey, HTTPS://scottjeffrey.com, accessed 25 March 2017.

Kent M 2016, ‘Social Identity’, The Oxford Dictionary of Sports Science & Medicine (3.ed), Oxford University Press.

Mandy, ‘Fractured Identities’, Thoughts on life and love, www.thoughtsonlifeandlove.com/fracturedidentities> accessed 25 March 2017.

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9. #FRACTUREDIDENTITY

We can break down the Creative Identity of the public figure Steven Berkoff in context of influences he freely admits to. He is a fractured self, unable to settle on any given public or private sense of identity:

Steve and Les are more than just a projection of unconscious desires, they offer a scathing Marxist critique of the culture he inhabits (Cross, 172). His characters (however much they hate each other) are his authentic self, which are in turn constructions of his influences, aspirations, hypocrisies and insights into the world surrounding him. He is torn between his East End working class upbringing and the rampant consumerism he has experienced in his success.

This sense of fractured identity, seen within the work as a projection of the artist’s foibles shows how inseparable the artist is from their work.

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My noble stead! My rock! My teacher!

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Fractured Identity

Hall, as quoted by Johnson (Hall in Johnson, Lecture 2 2017)[23], states that “[a] subject assumes different identities at different times, identities which are not unified around a coherent ‘self’. Within us are contradictory identities pulling in different directions” Creative artists are able to explore themselves through the portrayal of different identities, whether this be through an alter ego or even through the use of colloquialisms and jargon language. Different parts of an individual can influence or activate the exploration and/or embrace of these identities which, for many artists, is done on a public platform.